Sony MAX2 Celebrates Disco Dancer Mithun Chakroborty's Birthday

Total Page:16

File Type:pdf, Size:1020Kb

Sony MAX2 Celebrates Disco Dancer Mithun Chakroborty's Birthday Sony MAX2 celebrates Disco Dancer Mithun Chakroborty’s birthday ~ Showcases family bonding with his blockbuster film ‘Swarg Se Sunder’, only on Sony MAX2 on Saturday, 16th June at 7pm~ Mumbai, 14th June, 2018: The year 1976 marked the entry of a tall, dark and a handsome man, in the industry. Born on 16 June 1952, Mithun Chakroborty, literally changed the conventional image of a hero in the industry. For an actor who himself once admitted that, “I am not an actor by ambition but by compulsion” Mithun’s Bollywood career is nothing less than a miracle. From being a junior artist, to being a National award winner actor and a superstar, Mithun’s life is truly an inspiration to many. Attributes that made him stand out from the others in that era, were his unconventional looks, different yet trend setting dance moves and the ability to be at home in the art-house as well as commercial cinema. To celebrate India’s official Disco Dancer’s 68th birthday, Sony MAX2, India’s iconic Hindi movie channel from Sony Pictures Networks will air the super hit family saga of 1986, Swarg Se Sundar on Saturday, 16th June at 7pm only on Sony MAX2. Swarg se Sunder is the story of two brothers, Vijay (Jitendra), Sarpanch of a village, and his younger brother Ravi (Mithun Chakraborty). Ravi loves and respects his brother and sister-in-law, Lakshmi (Jayaprada) more than his father and mother. They are the epitome of happy family in their village until Ravi gets married to the love of his life, Lalita (Padmini Kolhapure), the daughter of Milavatram (Kader Khan), Vijay’s rival. Soon after, both Lalita and Lakshmi get pregnant at the same time but this happiness is short lived, as Lalita’s child dies at birth while a son is born to Lakshmi. Out of respect, Lakshmi and Ravi decide to give away their son to Lakshmi and Vijay. However, the story takes a negative turn when the child, who is supposed to make the family bond tighter, becomes the reason of a massive feud. Will Ravi be able to reunite the family or will he drown under the burden of hostility? Watch the emotional family man Mithunda in ‘Swarg Se Sunder’ on 16th June at 7pm only on Sony MAX2! About SONY MAX2: SONY MAX2 is an iconic Hindi movie channel from Sony Pictures Networks India (SPN), one of India’s leading television network. MAX2 caters to the needs of the Indian audiences who appreciate rich Indian cinema and inspires newer audience to honor the glory of such iconic movies. The brand ethos of the channel ‘Kuch Filmon Ka Jaadu Kabhi Kam Nahin Hota’ stems from the core thought that certain films have an everlasting appeal that never fades away with time. With innovative peripheral programming concepts like ‘Sitaare’, ‘Take 2’ and ‘Lights Camera Kisse’, the channel aims to create an emotional connect with its audience and educate them about the grandeur of yesteryear movies and the stars. Through popular on-ground marketing initiatives like ‘Film, Family, Fun’ and digital initiatives like ‘The Timeless Digital Awards’, MAX2 enables many to engage with the magic of movies and encourages people to express their talent and love for timeless cinema. Today, the channel reaches out to an audience of 119 million viewers every week across Hindi speaking markets. The channel targets 22-50 year olds, NCCS: ABC, males. For more information, please log on to http://www.sonymax2.tv/ About Sony Pictures Networks India (SPN) Sony Pictures Networks India (SPN), is a subsidiary of Sony Corporation which owns and operates the Sony Entertainment network of television channels. SPN comprises 31 channels including Sony Entertainment Television (SET and SET HD), one of India's leading Hindi general entertainment television channels; MAX, India's premium Hindi movies and special events channel; MAX 2, another Hindi movie channel showcasing great India Cinema; MAX HD, a high definition Hindi movie channel airing premium quality films; WAH, the FTA channel for Hindi movies; SAB and SAB HD the family-oriented Hindi comedy entertainment channels; PAL, a genre leader in rural Hindi speaking markets (HSM) showcasing the best of Hindi general entertainment and Hindi movies from SPN’s content library; PIX and PIX HD, the English movie channels; LePlex HD showing critically-acclaimed Hollywood films; AXN and AXN HD, the action and adventure-oriented English entertainment channels; Sony BBC Earth and Sony BBC Earth HD, the premium factual entertainment channels, Sony AATH, the Bangla entertainment channel; MIX a refreshing Hindi music channel; ROX HD, a channel for contemporary Hindi music; YAY!, the kids entertainment channel; Sports Network comprising 11 sports entertainment channels – SONY SIX, SONY SIX HD, SONY ESPN, SONY ESPN HD, SONY TEN 1, SONY TEN 1 HD, SONY TEN 2, SONY TEN 2 HD, SONY TEN 3, SONY TEN 3 HD, SONY TEN GOLF HD; SonyLIV - the digital entertainment VOD platform, SPN Productions, the networks’ film production arm and Sony Pictures Networks Distribution Pvt Ltd. (SPND) that distributes the networks television channels across different genres and languages through multiple content delivery platforms. SPN reaches out to over 700 million viewers in India and is available in 167 countries. The network is recognized as an employer of choice within and outside the media industry. SPN is a recipient of several awards, including the ‘Aon Best Employers India’ Award in the 2017 edition in recognition of SPN’s unique workplace culture and exceptional people practices, consistently ranking amongst India’s Top 10 Companies with Best Health & Wellness Practices by SHRM & CGP Partners, listed by Working Mother & AVTAR as one of the 100 Best Companies for Women in India in 2017 and adjudged one of India’s Great Mid-Size Workplaces for its distribution business by the Great Place To Work® Institute in the 2017 edition. Sony Pictures Networks India Private Limited is in its 23rd year of operations in India. Its subsidiaries include Sony Pictures Networks Distribution India Private Limited, MSM-Worldwide Factual Media Private Limited, MSM Discovery Private Limited, Taj Television (India) Private Limited, Aqua Holding Investments [Pvt.] Ltd., and Bangla Entertainment Private Limited. # # # For more information please contact: Bhharati Kabre, Sony MAX, +91 9820346384, [email protected] Arati Kadam, Weber Shandwick, +91 9820579359, [email protected] .
Recommended publications
  • Barbados Turf Club Officials 2021
    BARBADOS TURF CLUB OFFICIALS 2021 ___________________________________________________________________________________________________ BOARD OF DIRECTORS Stephen Walcott QC (President) Kevin Burke John Humphrey David Murray CPA, CGA, CA (Vice President) John Chandler Stephen Jardine Rawle Batson EM JP Gregg Goddard Angela Simpson RACECOURSE STEWARDS Messrs. Rawle Batson EM JP (Chief Racecourse Steward), Ronald Thornton, Peter Chase & John Jones STEWARDS OF THE DAY Messrs. Stephen J. Walcott QC, Edgar Massiah, Ronald Thornton & Peter Chase (Stewards) Mr. Jeffrey Chandler (Stipendiary Steward) PROBATIONARY STEWARDS Messrs. Brett Callaghan & Wayne Elliott SECRETARY TO STEWARDS Dawn Martin ADMINISTRATION Rosette Peirce (Secretary/C.E.O), Ezra Thomas (Track & Paddock Superintendent), Elvis Benn (Track & Paddock Supervisor) Victor Gaskin (Senior Accountant), Rosaline Drakes (Secretary), Claudette Hutchinson (Accounts Clerk) Mohommed Mohamad (Horseman’s Liaison/Racing Division Officer), Junior Franklyn (Racing Division Officer) Ann-Maria Jemmott (Customer Service/Racing/Marketing & Public Relations Clerk) RACING OFFICIALS Richard Toppin Judge Roy Hughes Handicapper Mark Harding Assistant Judge Raphael Greene Probationary Handicapper Stephen Belgrave Timekeeper Nicolas Small Probationary Handicapper Mark Batson Starter Victor Kirton False Start Judge Stephen Thorne Assistant Starter Clarence Alleyne Pari Mutual Manager Evan Donovan Clerk of Scales Bertie Corbin BSS Track Announcer Amanda Kelly Assistant Clerk of Scales Dr. Dean Springer DVM Race Caller Charles Smith Clerk of Saddling Area Lindon Yarde Race Caller/ Colour Commentator Kevin Hill Clerk of the Parade Ring/ Assistant Clerk of Scales Eustace Joseph Farrier Kenny Joseph Farrier MEDICAL OFFICERS VETERINARY OFFICERS Dr. Winston Batson Bsc, (Hons) MBBS Dr. Trevor H. King BVM & S (Edin) Dr. Karen Bynoe MBBS Dr. Alan Storey BVM & S (Edin) Dr. Satera Watson MBBS Dr. Gus Reader BV Sc.
    [Show full text]
  • A Love Story of Fantasy and Fascination: Exigency of Indian Cinema in Nigeria
    Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema.
    [Show full text]
  • Download Disco Dancer Movie
    Download disco dancer movie Disco Dancer Movie HD Video. Disco Dancer - Mithun Chakraborty | Kim Yashpal - Superhit Hindi Movie - (With Eng Subtitles) by Shemaroo Download. Disco Dancer () - Hindi Full Movie - Mithun Chakraborty - Bollywood Superhit 80's Movie by Shemaroo Movies Download. I am a disco dancer..​. at first Disco star Mithun da in India​. All Songs of Disco Dancer {HD} - Mithun. Watch Disco Dancer - Mithun Chakraborty - Bollywood Superhit 80's Classic Movie - Full Length - High. disco-dancer-wallpaper. Direct Download Links For Hindi Movie Disco Dancer MP3 Songs: Song Name, ( Kbps). 01 I Am A Disco Dancer, Download. Drama · Jimmy promises to return to Bombay and become a famous entertainer so that he can .. Trivia. one of the earliest film of Om Puri where he acted in mainstream cinema. See more» Photography · Audible Download Audio Books. Download Disco Dancer () Songs Indian Movies Hindi Mp3 Songs, Disco Dancer () Mp3 Songs Zip file. Free High quality Mp3 Songs Download. A street singer and dancer, Anil has the burning ambition to make it big as a disco dancer. Overcoming obstacles he becomes Jimmy, the rage of disco dancing. Download Disco Dancer bollwood Mp3 Songs. Disco Dancer BollyWood Mp3. Disco Dancer Movie Cast and Crew. songs cover preview. Movie/Folder Name. Download Disco Dancer Array Full Mp3 Songs By Kishore Kumar Movie - Album Released On 16 Mar, in Category Hindi - Mr-Jatt. Disco Dancer () Hindi mp3 songs download, Kim, Mithun Chakraborty Disco Dancer Songs Free Download, Disco Dancer () old movie mp3 songs. Disco Dancer Songs PK Download, Disco Dancer Mp3 Song Free Download, Disco Dancer Movie Songs Mp3 Download,Disco Dancer Film PK Song.
    [Show full text]
  • Soviet-Indian Coproductions: Ali Baba As Political Allegory
    Soviet-Indian Coproductions: Ali Baba as Political Allegory by MASHA SALAZKINA Abstract: This essay considers the history of Soviet Indian coproductions focusing on Ali Baba and 40 Thieves (1980) as a political allegory over the fate of the multination state. It addresses the formal utopian character of the fi lm and the excessive threat of sexual violence in the song-and-dance numbers. he subject of this essay is the little studied phenomenon of the Soviet-Indian cinematic coproductions. While giving a general outline of the history of these coproductions, I focus primarily on the most commercially successful of these joint efforts, Ali Baba and 40 Thieves (Alibaba Aur 40 Chor/Priklyucheniya Ali-Baby Ti soroka razboinikov, Latif Faiziyev and Umesh Mehra, 1980), henceforward Alibaba. I argue that the fi lm contains a political allegory expressing anxiety over the fate of the multination state; that anxiety lies beneath the formal utopian character of the fi lm, which attempts to show the constitution of a new community on the screen and to defi ne the role of its political subject in the face of crime and governmental corruption. I will address these issues through discussing the directors’ choice of the material (a story from One Thousand and One Nights, or The Arabian Nights, as it is better known in English); the narrative structure of the fi lm; performance histories of the Indian and Soviet actors; and, fi nally, through a reading of the excessive threat of sexual violence concentrated in the fi lm’s song-and-dance numbers. Alibaba, I con- tend, is of interest not only due to the formal and institutional hybridization of two autonomous cinematic traditions, Indian and Soviet, but also as a cultural object which displays a shared anxiety over the role of the state as its existing political and economic order moves palpably toward the brink of collapse.
    [Show full text]
  • King's Research Portal
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by King's Research Portal King’s Research Portal DOI: 10.1080/20403526.2017.1258160 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Smith, I. R. (2016). Theorising cult cosmopolitanism: The transnational reception of Bollywood as cult cinema. Transnational Cinemas, 1-15. 10.1080/20403526.2017.1258160 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • India-China Cultural Interface in Contemporary China: Reinventing the Old, Identifying the New
    No. 44 March 2020 India-China Cultural Interface in Contemporary China: Reinventing the Old, Identifying the New Sabaree Mitra ICS OCCASSIONAL PAPER NO. 44 India-China Cultural Interface in Contemporary China: Reinventing the Old, Identifying the New Author: Sabaree Mitra First published in 2020 © Institute of Chinese Studies, Delhi Institute of Chinese Studies 8/17 Sri Ram Road, Civil Lines Delhi 110 054, INDIA Ph.: +91-11-23938202; Fax: +91-11-23830728 Email: [email protected] Website: www.icsin.org ABOUT THE AUTHOR Dr. Sabaree Mitra has been teaching Chinese Language, Literature and Culture in Jawaharlal Nehru University, since 1990. Her basic training has been in Chinese Language and Literature and her research interest includes contemporary Chinese literature, criticism and cultural history. Prof. Sabaree Mitra has presented papers in National and International Conferences, and has published research articles in many peer reviewed academic journals of international repute. Her books include Purbadiganter Kabita: Samakaleen tin china kabir ek jhalak (2002), a collection of contemporary Chinese poetry translated into Bengali, Literature and Politics in 20th century China: Issues and Themes (2005), and, Chinese Women Writers and Gender Discourse (1976- 1996) (2008). In the last few years her interdisciplinary work has explored themes such as: ‘Body as a Site of Struggle and Resistance in the Asian Women’s Writings: A Study of Chinese and Bengali Fiction since the 1970s’, ‘Making of a People’s Culture’: Discourse & Praxis in China’, ‘The Chinese Experience of Theorizing Women through Intercultural Dialogue: Contribution of Li Xiaojiang’, ‘Tagore and Bengal's Social Modernity: Bringing Women to the Cultural Mainstream’, and ‘Tagore’s Path for Women’s Emancipation: A Comparative Perspective with the Chinese Experience’.
    [Show full text]
  • Hindi1512 (Et19khnd)
    AceKaraoke.com ET-19KH Song List No. SONG TITLE MOVIE/ALBUM SINGER 20001 AA AA BHI JA TEESRI KASAM LATA MANGESHKAR 20002 AA AB LAUT CHALE JIS DESH MEIN GANGA BEHTI HAI MUKESH, LATA 20003 AA CHAL KE TUJHE DOOR GAGAN KI CHHAON MEIN KISHOE KUMAR 20004 AA DIL SE DIL MILA LE NAVRANG ASHA BHOSLE 20005 AA GALE LAG JA APRIL FOOL MOHD. RAFI 20006 AA JAANEJAAN INTEQAM LATA MANGESHKAR 20007 AA JAO TADAPTE HAI AAWAARA LATA MANGESHKAR 20008 AA MERE HUMJOLI AA JEENE KI RAAH LATA, MOHD. RAFI 20009 AA MERI JAAN CHANDNI LATA MANGESHKAR 20010 AADAMI ZINDAGI VISHWATMA MOHD. AZIZ 20011 AADHA HAI CHANDRAMA NAVRANG MAHENDRA & ASHA BHOSLE 20012 AADMI MUSAFIR HAI APNAPAN LATA, MOHD. RAFI 20013 AAGE BHI JAANE NA TU WAQT ASHA BHOSLE 20014 AAH KO CHAHIYE MIRZA GAALIB JAGJEET SINGH 20015 AAHA AYEE MILAN KI BELA AYEE MILAN KI BELA ASHA, MOHD. RAFI 20016 AAI AAI YA SOOKU SOOKU JUNGLEE MOHD. RAFI 20017 AAINA BATA KAISE MOHABBAT SONU NIGAM, VINOD 20018 AAJ HAI DO OCTOBER KA DIN PARIVAR LATA MANGESHKAR 20019 AAJ KAL PAANV ZAMEEN PAR GHAR LATA MANGESHKAR 20020 AAJ KI RAAT PIYA BAAZI GEETA DUTT 20021 AAJ KI SHAAM TAWAIF ASHA BHOSLE 20022 AAJ MADAHOSH HUA JAAYE RE SHARMILEE LATA, KISHORE 20023 AAJ MAIN JAWAAN HO GAYI HOON MAIN SUNDAR HOON LATA MANGESHKAR 20024 AAJ MAUSAM BADA BEIMAAN HAI LOAFER MOHD. RAFI 20025 AAJ MERE MAAN MAIN SAKHI AAN LATA MANGESHKAR 20026 AAJ MERE YAAR KI SHAADI HAI AADMI SADAK KA MOHD.RAFI 20027 AAJ NA CHHODENGE KATI PATANG KISHORE KUMAR, LATA 20028 AAJ PHIR JEENE KI GUIDE LATA MANGESHKAR 20029 AAJ PURANI RAAHON SE AADMI MOHD.
    [Show full text]
  • EROS INTERNATIONAL COLLECTION of INDIAN CINEMA on DVD Last Update: 2008-05-21 Collection 26
    EROS INTERNATIONAL COLLECTION OF INDIAN CINEMA ON DVD Last Update: 2008-05-21 Collection 26 DVDs grouped by year of original theatrical release Request Titles by Study Copy No. YEAR OF THEATRICAL COLOR / RUNNING STUDY COPY NO. CODE FILM TITLE RELEASE B&W TIME GENRE DIRECTOR(S) CAST 1 DVD5768 M DVD-E-079 MOTHER INDIA 1957 color 2:43:00 Drama Mehoob Khan Nargis, Sunil Dutt, Raj Kumar 2 DVD5797 M DVD-E-751 KAAGAZ KE PHOOL 1959 color 2:23:00 Romance Guru Dutt Guru Dutt, Waheeda Rehman, Johnny Walker 3 DVD5765 M DVD-E-1060 MUGHAL-E-AZAM 1960, 2004 color 2:57:00 Epic K. Asif Zulfi Syed, Yash Pandit, Priya, re-release Samiksha 3.1 DVD5766 M DVD-E-1060 MUGHAL-E-AZAM bonus material: premier color in Mumbai; interviews; "A classic redesigned;" deleted scene & song 4 DVD5815 M DVD-E-392 CHAUDHVIN KA CHAND 1960 b&w 2:35:00 Romance M. Sadiq Guru Dutt, Waheeda Rehman, Rehman 5 DVD5825 M DVD-E-187 SAHIB BIBI AUR GHULAM 1962 b&w 2:42:00 Drama Abrar Alvi Guru Dutt, Meena Kuman, Waheeda Rehman 6 DVD5772 M DVD-E-066 SEETA AUR GEETA 1972 color 2:39:00 Drama Ramesh Sippy Dharmendra, Sanjeev Kumar, Hema Malini 7 DVD5784 M DVD-E-026 DEEWAAR 1975 color 2:40:00 Drama Yash Chopra Amitabh Bachchan, Shashi Kapoor, Parveen Babi, Neetu Singh 8 DVD5788 M DVD-E-016 SHOLAY 1975 color 3:24:00 Action Ramesh Sippy Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini 9 DVD5807 M DVD-E-256 HERA PHERI 1976 color 2:37:00 Comedy Prakash Mehra Amitabh Bachchan, Vinod Khanna, Saira Banu, Sulakshana Pandit 10 DVD5802 M DVD-E-140 KHOON PASINA 1977 color 2:31:00 Drama Rakesh Kumar Amitabh Bachchan, Vinod Khanna, Rekha 11 DVD5816 M DVD-E-845 DON 1978 color 2:40:00 Action Chandra Barot Amitabh Bachchan, Zeenat Aman, Pran 12 DVD5811 M DVD-E-024 MR.
    [Show full text]
  • Fremont Choreographer Amit Patel Is Reinventing Bollywood
    Overview: “Fremont Choreographer Amit Patel is Reinventing Bollywood Dance His Way” is a seven-minute video featuring dancer and choreographer Amit Patel and choreographer Mona Khan. Various expressions of Bollywood dance are featured and the styles Patel calls “Bollywood Heels” and “Indian Contemporary.” Bollywood Heels is a mixture of Kathak gestures (Indian classical dance) and jazz dance performed in five-inch heels. Indian Contemporary fuses hip-hop, jazz and ballet with Indian folk and classical dance forms. Episode description: Outside, Amit, a young Indian American man with mocha skin and long dark brown hair dances with his arms overhead in smooth, flowing, twisting moves. Behind him the sun sets over the San Francisco-Bay. Then he speaks directly to the camera, with palm springs and an abstract metal sculpture in the background. A short montage of dance sequences follows. A group of young female dancers are dressed in white beaded crop tops, gold-trimmed sequined hip wraps over silky white pajama-style pants with black and gold-beaded diagonal stripes. In unison, they stretch their arms and bend. The festive, red background with curlicue design is reminiscent of a tree of life. Amit and two male dancers in a dance studio with a brick wall in the back dance Indian contemporary choreography. Amit, in a bedazzled tangerine tunic and loose pants, and his mother, dressed in black slacks and a purple top with black hair that falls to her hips, dance barefoot with wooden sticks on a quiet street. When Amit says “Let's go!” he motions for us to follow as he steps out of the frame, and another series of very quick shots of heavily produced dance performances play.
    [Show full text]
  • THE ARCHITECTURE of SONGS and MUSIC: Soundmarks of Bollywood, a Popular Form and Its Emergent Texts
    Screen Sound n3, 2012 THE ARCHITECTURE OF SONGS AND MUSIC: Soundmarks of Bollywood, a Popular Form and its Emergent Texts Madhuja Mukherjee Abstract This article provides detailed historical context for contemporary Bollywood melodramas, including a handful of feature films shot in Australia. It draws on interactions between technologies and media industries, and popular culture. The first section introduces the uses of music in Hindi films between 1930s and 1960s. Anna Morcom’s (2007) discussions emphasising the ‘eclecticism’ of Hindi film music, dominant tendencies, and modes through which these films deploy certain sounds and songs to produce a recognizable soundtrack are problematised. The second section of this article discusses two major shifts that occur in the patterns of production and consumption of music during the 1970s and 1980s, followed by the formation of ‘brand Bollywood’ in the 1990s. Referring to M. Madhava Prasad’s (1998) formulations, the problem of industrial, and formal ‘mobilisation’ is revisited through screen sound. While Sangita Gopal and Sujata Moorti (2008) study the popularity of Bollywood music, the author presents a more complicated mapping by investigating older musical exchanges. In this section, specific films like Disco Dancer (Babbar Subhash, 1982), as well as films situated in Australia—specifically Dil Chahta Hai (Farhan Akhtar, 2001) and Salaam Namaste (Siddharth Anand, 2005)—are analysed in relation to the musical designs of contemporary Bollywood films. This article locates the soundmarks of a popular form and historicises its new routes. In this context, Bollywood films appear like a productive model that enables us to more generally recognise the function of songs and music in cinema.
    [Show full text]
  • Unit 15 Indian Film Industry
    UNIT 15 INDIAN FILM INDUSTRY Structure 15.0 Introduction 15.1 Learning Outcomes 15.2 Brief History of Films 15.3 Films come to India 15.4 Reach of the Industry 15.4.1 Hindi Film Industry 15.4.2 Regional Reach 15.4.3 Documentaries 15.4.4 Corporatisation 15.5 Impact of the Industry 15.5.1 Revenue Generation 15.5.2 Stardom and Glamour 15.5.3 Politics 15.5.4 Social Impact 15.6 Art and Production 15.6.1 Digital Era 15.6.2 International Presence 15.7 Future of the Industry 15.7.1 Challenges 15.7.2 Scope for Development 15.8 Let Us Sum Up 15.9 Further Readings 15.10 Check Your Progress: Possible Answers 15.0 INTRODUCTION The film industry is one of the most glamourous, enticing and alluring industries in India. Called the tinsel town, silver screen and the city of dreams, the Mumbai Hindi film industry is one of the largest industries in the world. Right from the hair styles to the dialogues spoken by the stars, films have been the biggest trend setters in India. But very few are interested in knowing what goes on behind the lights, how many people are involved in producing one film, how does this industry function as a whole, what are it’s sources of income and avenues of expenditure. This unit is aimed at introducing you to the world of cinema not as a medium of entertainment, but as an industry. During the course we will discuss a brief history of how films came to India, few important landmarks over past hundred years, 225 Ownership and Organisational regional penetration and international presence of the Indian Cinema.
    [Show full text]
  • Taapsee Pannu
    June, 2021 Taapsee ALIA BHATT Pannu: Going busts green Bollywood how bollywood’s eco warriors business are saving the planet Volume 70 # June 2021 / ISSN NUMBER 0971-7277 June, 2021 Taapsee A L I A B H A T T Pannu: Going busts green Bollywood how bollywood’s eco warriors business are saving the planet 32 PHOTOGRAPHS: ABHAY SINGH STYLING: AMI PATEL ASSISTED BY: MILONI SHAH AND SANJAY KUMAR DAUHALIYA MAKE-UP: PUNEET SAINI 25 HAIR: PRIYANKA BORKAR Denim Jacket: Burberry | Jeans: Promod Editor’s Choice Stars and their favourite 03 charities The cathartic power of 60 OTT shows Masala fix 38 Aamir Khan’s secret 06 business formula revealed, Emraan Hashmi is the villain in Tiger 3, Madhuri Dixit to again work with 27 28 Sanjay Leela Bhansali and other grist from the Preview Taapsee Pannu tells it rumour mill Actors Prajakta Koli 32 like it is 10 and Nikita Dutta acquaint Tusshar Kapoor is happy us with their dreams 38 to turn producer and desires Adarsh Gourav is 42 basking in the success Fashion And of The White Tiger Lifestyle Obituary: 42 46 Vanraj Bhatia Beauty and style secrets Obituary: Your say 17 of the stars decoded 48 Raam Laxman Exclusive Cover Story: How the COVID-19 affected Readers write in their 24 We take a look at the stars 50 the business of cinema 56 rants and reviews who support environmental and changed the Shatrughan Sinha’s 08 initiatives parameters of box-office 58 racy rejoinders 07 Letter from the Editor Noble hearts Our social media timelines have been flooded with reports and images of film stars lending a helping hand to those in need during the ongoing coronavirus pandemic.
    [Show full text]